The foley session spec's we recieve are almost always 48 kHz. The exceptions are a handful of game audio or multimedia projects that specify 44.1 kHz.

Likewise, all the features, docs, and Imax films with which I've been involved have been 48 kHz.

I've used higher sample reates to great effect for a few special applications where I planned on pitch-shifting the sounds way down. In particular, I recorded some "monster vocals" at 192 kHz using a Neumann TLM 170, and just added them directly into the 48 kHz Protools session. Needless to say, that session was loads of fun.

I do everything at 24/96 and then use Barbabatch to scale the audio however is required. I think the plugs and the multiple conversions that are done because I use so much outboard gear is greatly helped at the higher sample rate (and with the outstanding conversion I have).

I do everything at 24/96 and then use Barbabatch to scale the audio however is required. I think the plugs and the multiple conversions that are done because I use so much outboard gear is greatly helped at the higher sample rate (and with the outstanding conversion I have).

Music is usually done at 96k. I have done a few foley sessions at 96k just to see. They fit in the mix really well. We run our Euphonix consoles at 96k with good results. The EQ sounds much more open. And the SRC on it is pretty much unnoticable. But the projects are generally 24/48.

This is interesting.
For my current project I recorded some slimy leather foleys (eggs, fruits, leather) for an alien creature animation at 192 KHZ to reopen them without conversion in my 16 Bit 48 KHZ mastersession.

Boy this sounded so different from just pitching 48 KHZ material down.
But I also had problems with aliasing frequencies when playing back the high samplerate material at 48 KHZ. Anyone aware of this problem. It was on a
protools HD system.

For the future I will always record with high samplerates when I already know that I want to pitch the material down. Shure the best thing for these pitch Efx would be a stereo nagra, but at the moment I can not aford one.

16/48 or 24/48 here, often depending on what the majority of the original source material was at, and how clean the whole sound track is likely to end up being. (ie DV-doc = dirty, music sessions = pretty clean etc.)

This is interesting.
For my current project I recorded some slimy leather foleys (eggs, fruits, leather) for an alien creature animation at 192 KHZ to reopen them without conversion in my 16 Bit 48 KHZ mastersession.

Boy this sounded so different from just pitching 48 KHZ material down.
But I also had problems with aliasing frequencies when playing back the high samplerate material at 48 KHZ. Anyone aware of this problem. It was on a
protools HD system.

For the future I will always record with high samplerates when I already know that I want to pitch the material down. Shure the best thing for these pitch Efx would be a stereo nagra, but at the moment I can not aford one.

But still my mastersession is 16 Bit 48 Khz.

The "aliasing" you heard might well have ben a high frequency noise in the recording that you didn't notice 'til it was shifted down. Happens all the time, shift some foley down & you realize that there's a 17k or so tone from the video monitor. Just notch it out with MDW or some other very narrow EQ.

Most of the FX & mixing work I do is at 48/24, but we do record things at 192/24 whenever possible, you never know what might be useful downshifted.

Now if I can just get my Foley guys to make use of the headroom at 24 bit & not clip everything all to hell...This is not a waveform I enjoy listening to:

I'm doing game work, so not sure if the opinion is valuable here or not...

I generally do everything at 24/96 then drop it down for implementation. When I'm compositing stuff, I want the extra headroom from 24bit, and I preserve the original 24/96 assets in case they're needed for a port to a future console/remake/whatever. I do make a point to keep things mathematically symmetrical though... so if I'm doing something to be delivered in 44.1, I'll work in 88.2, stash the original then downsample to 44.1.

When I worked in post, everything was 16/48, that was basically law. But we were doing spots, so not exactly the most demanding work...